{"product_id":"coates-heger-alwin-wagner-the-potted-ring-vol-2-1928-32-paco114","title":"COATES, HEGER, ALWIN Wagner: The Potted Ring, Vol. 2 (1928-32) - PACO114","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Potted Ring - Volume Two: Siegfried\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1928-32\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 31:10\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLauritz Melchior ∙ Florence Easton ∙ Friedrich Schorr\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHeinrich Tessmer ∙ Eduard Habich ∙ Albert Reiss\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Bockelmann ∙ Emil Schipper ∙ Maria Olszewska ∙ Nora Gruhn\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Heger ∙ Albert Coates ∙ Karl Alwin,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductors\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f Melchior is again superb with a real sense of loss as he sings of his loneliness after the deaths of everyone he has cherished in his life...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI first encountered this recording in the shape of a substantial box of\n78s (19 discs in all) belonging to Claire Campbell, to which I and a\nnumber of friends listened rapturously in her rooms at Somerville\nCollege in Oxford in 1970 or 1971. We were enraptured chiefly by the\nsound of the voice of Lauritz Melchior, so self-evidently \u003cem\u003emade\u003c\/em\u003e\nto sing the role of Siegfried and producing heroic tones which far\nsurpassed the assumption of the role by Wolfgang Windgassen for the\nSolti \u003cem\u003eRing\u003c\/em\u003e with which we were familiar. At the same time we\nwere disappointed by the severely scrawny sound of the recording, and\neven more by the barbarous butchery inflicted on the score by the need\nto cram the extracts from the opera onto the lengths of 78 sides. I had\nnot heard the recording since then, and although Pristine have done\nwonders with the sound in this re-mastering there is nothing they can do\nabout the swingeing cuts which remove around half the score. Mark\nObert-Thorn in his booklet note claims that “Melchior’s unsurpassed\nassumption of the role was captured nearly complete at the height of his\nconsiderable powers in these recordings”. In fact there is nearly a\nthird of even \u003cem\u003ehis\u003c\/em\u003e part missing (at a guess) including the whole\nof his two encounters with Mime in Act Two and the greater part of his\nconfrontation with the Wanderer in Act Three, as well as more minor cuts\nelsewhere. Nevertheless we do have the most salient parts of his\nassumption of the part here, in a series of studio recordings that\ninevitably have more vocal presence than the stage transcriptions made\nten or more years later which have appeared on CD over the years.\u003cbr\u003e \u003cbr\u003e\nMelchior was frequently criticised for his slack sense of rhythm and\ncareless disregard for note values, but it must be observed that at this\nearly stage of his career these faults are nowhere in evidence. He even\nmanages a creditable top C on his entrance in Act One, which is more\nthan can be said for many Siegfrieds even today. The hammer-strokes in\nthe forging scene are spot-on, which if Melchior is actually hammering\nhimself is remarkable; but I suspect that the job is delegated to a\npercussionist, although John Culshaw seems to think that this ‘trick’\nwas not employed until the Decca recording the \u003cem\u003eRing\u003c\/em\u003e under\nKeilberth at Bayreuth in the 1950s. Mime’s hammering at the opening of\nthe Act, however, sounds quite different in tone — more like a wood\nblock than an anvil — and since there \u003cem\u003eare\u003c\/em\u003e errors here one\nsuspects that the effects were recorded live by Heinrich Tessmer. This\nis one of the few slips in his performance, steady and firmly voiced.\nThis is more than can be said for Albert Reiss who takes over the role\nin the later sections of the Act, with a feeble tone which is afflicted\nby a wobble on sustained notes and frequently departs from the notated\npitch altogether. That, coupled with the fact that the forging scene is\nrecorded with less immediate impact — it is surprising how much electric\nrecording techniques improved in a short period — leaves an impression\nthat is unfortunately less than ideal even though Melchior is thrilling.\nOn the other hand we do have Tessmer in the first half of his scene\nwith the Wanderer. Here Friedrich Schorr is firm and trenchant even if\nsome later interpreters have sounded more noble and less tetchy. There\nis a short cut in the scene, of the passage where he challenges Mime to\ntheir duel of wits.\u003cbr\u003e \u003cbr\u003e Schorr returns again for the opening of Act\nTwo and his scene with Alberich, which is disappointingly shorn of its\natmospheric Prelude. The dispute itself is barbarously abridged, which\nrobs both protagonists of any chance to build up atmosphere, with even\nthe closing bars of the scene brutally hacked off. Eduard Habich is a\ncharacterful Alberich, but it was definitely a mistake to ask him to\ndouble the bass role of Fafner; quite apart from the dramatic nonsense\nwhen he immediately responds to his own questioning, his voice is quite\nunsuitable and totally lacks any sense of distance; this dragon in his\ncave is clearly standing shoulder to shoulder in front of the microphone\nwith the other characters. Habich also takes on the role of Fafner in\nhis (heavily abridged) fight with Siegfried, and here his lack of the\nrequisite bottom notes is simply embarrassing. Melchior is properly\ntender in the forest murmurs, but even his horn-call is reduced to a\nsingle phrase and it is in passages like this that the phrase “potted”\nrears its head in entirely the wrong sense. The best section of this Act\nis the short duet between the two Nibelung brothers, where Habich and\nTessmer build up quite a head of steam. In the final scene of the Act\n(somewhat trimmed) Nora Gruhn is a rhythmically free Woodbird, but\nMelchior is again superb with a real sense of loss as he sings of his\nloneliness after the deaths of everyone he has cherished in his life.\u003cbr\u003e \u003cbr\u003e\nThe first scene of Act Three is given absolutely complete — if with a\nrather abruptly cut off ending — but it is probably the least\nsatisfactory rendition of this set, as well as the worst recorded. The\norchestral playing under Karl Alwin is horribly imprecise, and the\nsinging of the husband-and-wife team of Emil Schipper and Maria\nOlszewska is nothing special. He petulantly resorts to shouting in\nplaces, and she strains ineffectually for desperately thin high notes as\nshe tears into Wotan’s treachery. Rudolf Bockelmann is considerably\nbetter, although clearly no Schorr, at the end of his scene with\nSiegfried. This is ruined by the extraordinarily fast speed adopted by\nCoates which leaves both singers flailing to keep up. It is hard here to\nunderstand the high reputation that Coates enjoyed as a Wagnerian\nconductor, except perhaps to attribute it to the chauvinism of British\ncritics at the time. In the following interlude there is a sudden\ncramming on of the brakes at the climax, which has no warrant whatsoever\nin the score. Heger is far more effective in the scene on the mountain\ntop, again slightly cut but at a far more reasonable speed. Florence\nEaston sounds rather matronly at the beginning of the long duet, but by\nthe end she finds a more appropriate tone and she and Melchior are well\nmatched.\u003cbr\u003e \u003cbr\u003e This set is of course no match for more modern\nrecordings of Siegfried, and could hardly be regarded as a sole\nrepresentation of the opera for a collection but it stands as an ‘Old\nTestament’ of Ring recordings. In this sense it illustrates both the\nvery best and sometimes the worst of Wagnerian singing in the inter-War\nperiod. Mark Obert-Thorn has done wonders with the sound, reducing\nbackground noise to an almost undetectable silence which pays real\ndividends, for example, in the long passage for unaccompanied violins as\nSiegfried arrives on the mountain top. It certainly knocks spots off\nthe scratching of the original 78s as I recall them from my first\nacquaintance.\u003cbr\u003e \u003cbr\u003e It is a pity that fuller details of the\nrecordings themselves and the artists could not have been provided in a\nmore substantial booklet, but as usual with Pristine there are plentiful\nnotes available on their website including a review of the original 78\nset by Alan Blyth drawn from his Opera on Record. There were also\nrecordings of the forging scene and the final duet (cut) made at the\nsame time as the Schipper\/Olszewska duet featuring Horst Laubenthal and\nFrida Leider as Siegfried and Brünnhilde. We are advised that these\nexcerpts will be included as an appendix to Volume Three of Pristine’s\nPotted Ring.\u003cbr\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003e \u003cem\u003e\u003cb\u003ePaul Corfield Godfrey\u003c\/b\u003e\u003c\/em\u003e\u003cbr\u003eMusicWeb International, May 2015\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO114.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHMV's Potted Ring, Volume 2: Siegfried\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a set no enquiring Wagnerian, whatever complete version of The Ring he or she owns, should be without\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe present release is the second of three which will bring together\nthe 122 78 rpm sides of extended excerpts from Wagner’s tetralogy which\nHis Master’s Voice recorded in London, Berlin and Vienna between 1926\nand 1932.  The scope of this project centers around the Ring albums –\nnot every disc of music from the Ring which HMV issued during this\nperiod.  The first volume (PACO107) gathered together excerpts from \u003cem\u003eDas Rheingold\u003c\/em\u003e and \u003cem\u003eDie Walküre\u003c\/em\u003e; the present set focuses on Melchior’s \u003cem\u003eSiegfried\u003c\/em\u003e recordings; and the final one will feature scenes from \u003cem\u003eGötterdämmerung\u003c\/em\u003e, as well as an appendix featuring alternate recordings from the series and an outline of motives from the Ring cycle.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eSiegfried\u003c\/em\u003e recordings have a particularly convoluted\nhistory in the “Potted Ring” saga.  Initially, HMV released an album of\neight discs, combining two from \u003cem\u003eDas Rheingold\u003c\/em\u003e (featured in Volume 1 of our series) with six from \u003cem\u003eSiegfried\u003c\/em\u003e,\nin recordings made between June, 1927 and April, 1928.  This set\nincluded the Wotan\/Erda duet featured here (the only “Potted Ring”\nrecordings to come from Vienna), as well as six sides with Rudolf\nLaubenthal as Siegfried.  In three of these, he was joined by Frida\nLeider in excerpts from the final duet.  (Oddly, a disc with an\norchestral version of the “Forest Murmurs” led by Leo Blech was included\nalong with Laubenthal’s vocal excerpts from the same scene.)\u003c\/p\u003e\u003cp\u003eMelchior’s absence from these sides can be explained by the fact that\nhe did not make his first recordings for the HMV labels until June,\n1928.  In May of the following year, sessions were scheduled in London\nfor him to record \u003cem\u003eSiegfried\u003c\/em\u003e selections under Albert Coates,\nincluding re-recordings of material already covered in Laubenthal’s solo\nsides.  These were collected into a second, five disc volume on HMV. \nFurther recordings in May, 1930 (“Selige Öde” and “Das ist kein Mann”)\nunder Robert Heger were issued on two single discs.  In America, Victor\ncollected these, the 1929 recordings and the unduplicated 1927-28 \u003cem\u003eSiegfried\u003c\/em\u003e sides from the first volume in a ten-disc set. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFurther recordings of excerpts from Acts 1 and 2 in May, 1931 and the\nAct 3 duet in May, 1932, all under Heger, were issued as separate\nvolumes both in Europe and America.  Ultimately, HMV released a 19-disc\nset of the 37 sides presented here, although it was never offered this\nway on Victor.  Fortunately for posterity, Melchior’s unsurpassed\nassumption of the rôle was captured nearly complete at the height of his\nconsiderable powers in these recordings.\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were multiple copies of American Victor\neditions:  prewar “Z” and “Gold” label pressings, as well as a\nparticularly quiet postwar album, for the 1928-30 recordings; “Z” and\n“Gold” editions for the 1931 recordings; and two sets of “Z” pressings\nfor the 1932 final scene.  The progress of electrical recording during\nthis period can be traced through the variable sound of the originals,\nfrom the dim Vienna sides of 1928 and the occasionally strident and\noverloaded London sessions of 1929, to the warm, detailed sound obtained\nin Abbey Road in 1932.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eSiegfried\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Act 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e1          Prelude \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e2          \u003cem\u003eZwangwolle Plage!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e3          \u003cem\u003eHoiho! Hoiho! Hau ein! Hau ein!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e4          \u003cem\u003eAls zullendes Kind zog ich dich auf\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e5          \u003cem\u003eSoll ich der Kunde glauben \u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e6          \u003cem\u003eAus dem Wald fort\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e7          \u003cem\u003eHeil dir, weiser Schmied!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e8          \u003cem\u003eDein Haupt pfänd’ ich\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e          \u003cb\u003e  Heinrich Tessmer\u003c\/b\u003e, ten.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eFriedrich Schorr\u003c\/b\u003e, bar.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 9 May 1931 in Kingsway\nHall, London ∙ Matrices: 2B\n529-1A\/528-2\/531-2\/532-2A\/533-2A\/534-1A\/525-1A\/526-2  ∙ HMV DB 1713 and\nDB 1578\/81\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e9          \u003cem\u003eFühltest du nie im finstren Wald\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e10        \u003cem\u003eNothung! Nothung! Neidliches Schwert!  \u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e11        \u003cem\u003eHoho! Hoho! Hahei! Schmiede, mein Hammer\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAlbert Reiss\u003c\/b\u003e, ten.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 16\/17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2197-3\/2198-2B\/2199-3A\/2200-2 ∙ HMV D 1690\/1\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eAct 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e12        \u003cem\u003eIn Wald und Nacht\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e13        \u003cem\u003eZur Neidhöhle fuhr ich bei Nacht\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e14        \u003cem\u003eDeine Hand hieltest du vom Hort?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eEduard Habich\u003c\/b\u003e, bar.; \u003cb\u003eFriedrich Schorr\u003c\/b\u003e, bar.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e          \u003cb\u003e  London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 May 1931 in Kingsway Hall, London ∙ Matrices: 2B 554-2\/555-2 ∙ HMV DB 1582\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e15        \u003cem\u003eDaß der mein Vater nicht ist\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e16        \u003cem\u003eDu holdes Voglein!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eLauritz Mechior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e          \u003cb\u003e  London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2401-2\/2402-2A ∙ HMV D 1692\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e17        \u003cem\u003eHaha! Da hätte mein Lied\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e18        \u003cem\u003eWohin schleichst du eilig und schlau\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Lauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eHeinrich Tessmer\u003c\/b\u003e, ten.; \u003cb\u003eEduard Habich\u003c\/b\u003e, bar.*\u003c\/p\u003e\u003cp\u003e         \u003cb\u003e   London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 May 1931 in Kingsway Hall, London ∙ Matrices: 2B 557-1A\/556-2 ∙ HMV DB 1583\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e*(Note: Habich sings both Fafner and Alberich)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e        \u003cspan style=\"font-size: small;\"\u003e    \u003cb\u003eCD 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e            Act 2 (continued)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e1          \u003cem\u003eDa lieg auch du, dunkler Wurm!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e2          \u003cem\u003eGönntest du mir wohl ein gut Gesell?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e3          \u003cem\u003eHei! Siegfried erschlug nun den schlimmen Zwerg!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e           \u003cb\u003e Lauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eNora Gruhn\u003c\/b\u003e, sop.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 29 \u0026amp; 17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2404-2B\/2403-1 ∙ HMV D 1693\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e        \u003cspan style=\"font-size: small;\"\u003e    \u003cb\u003eAct 3\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e4          Prelude  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e5          \u003cem\u003eWache, Wala!\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e6          \u003cem\u003eStark ruft das Lied\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e7          \u003cem\u003eDir Unweisen ruf’ ich ins Ohr\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Emil Schipper\u003c\/b\u003e, bar.; \u003cb\u003eMaria Olszewska\u003c\/b\u003e, con.\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Vienna State Opera Orchestra ∙ Karl Alwin\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 20 \u0026amp; 26 April 1928 in Vienna ∙ Matrices: CK 2939-2\/2899-1\/2900-2\/2938-1 ∙ HMV D 1533\/4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e8          \u003cem\u003eKenntest du mich, kühner Sproß\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e9          \u003cem\u003eZieh hin!\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e10        Siegfried mounts the rocky height \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eRudolf Bockelmann\u003c\/b\u003e, bar.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 22 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2405-3\/2406-2 ∙ HMV D 1694\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e11        \u003cem\u003eSelige Öde auf sonniger Höh’!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e12        \u003cem\u003eDas ist kein Mann!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e           \u003cb\u003eLondon Symphony Orchestra ∙ Robert Heger\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 12 May 1930 in Queen’s Hall, London ∙ Matrices: CR 2498-3\/2499-1\/2500-1 ∙ HMV D 1836\/7\u003c\/em\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e13        \u003cspan style=\"font-size: small;\"\u003e \u003cem\u003eHeil dir, Sonne!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e14       \u003cem\u003eO Siegfried! Siegfried!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e15        \u003cem\u003eEwig war ich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e16        \u003cem\u003eDich lieb’ ich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e17        \u003cem\u003eOb jetzt ich dein?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eFlorence Easton\u003c\/b\u003e, sop.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e          \u003cb\u003e  Orchestra of the Royal Opera House, Covent Garden ∙ Robert Heger\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 29 May 1932 in EMI\nAbbey Road Studio No. 1, London ∙ Matrices: 2B\n2896-2\/2897-1B\/2898-2\/2899-2B\/2900-2\/2901-1B\/2902-1B ∙ HMV DB 1710\/3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO114.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO114.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e: Opera on Record (1979)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThere\nis no consistency here of orchestras, conductors or singers - except\nthat Melchior is the Siegfried throughout, and what a Siegfried! I am\nwell aware of his sometimes faulty sense of rhythm and vagueness over\nnote values, but what are these set against his unsurpassed fullness of\ntone, his ability to convey the part’s many moods (in particular its\nyouthful ardour) and his peculiar vividness of articulation? All\nprospective Siegfrieds should be locked up with his Sword and Forging\nsongs (‘Nothung’ and ‘Schmiede, mein Hammer’) until they can manage them\nboth with Melchior’s control and perception. He is just as exemplary in\nthe peace of the Forest Murmurs, and the worry and sadness of ‘Selige\nÖde’, once available separately on the HMV German list as EJ 485, almost\nmy first acquaintance with the singer along with ‘Nothung’ from this\nset (backed by a matchless Prize Song, DB 1858).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThe\nrest of the cast, all from Covent Garden, is more variable. Heinrich\nTessmer’s truly sung Mime turns into Albert Reiss’s caricature by the\nend of Act 1. Eduard Habich is a menacing Alberich. Schorr’s Wanderer,\nsubtle and often poetic in Act 1, is succeeded by Bockelmann’s more\nprosaic but not inconsiderable portrayal in Act 3 (Schipper is, of\ncourse, heard in Act 2). Nora Gruhn holds up British interests with a\nperky Woodbird. Florence Easton, London’s 1932 Brünnhilde and one of New\nYork’s regular interpreters of the role from 1924, presents a human,\nvulnerable goddess (a contradiction in terms I know). Her bell-like tone\nand superfine diction, much admired at the Metropolitan, are much in\nevidence here. Heger and Coates, both expert Wagnerians, share the\nconducting.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cstrong\u003eAlan Blyth \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eOpera on Record Vol. 1 (1979)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064780779610,"sku":"ufm1789304839879","price":17.36,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064780812378,"sku":"wbw1789304839880","price":15.46,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/coates-heger-alwin-wagner-the-potted-ring-vol-2-1928-32---paco114_1.jpg?v=1789304869","url":"https:\/\/vestorawear.shop\/products\/coates-heger-alwin-wagner-the-potted-ring-vol-2-1928-32-paco114","provider":"My Store","version":"1.0","type":"link"}